First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 - a period that saw a remarkable amount of ground-breaking work. While the primary focus is on feminist studies of Shakespeare, it also includes wide-ranging works on language, desire, role-playing, theatre conventions, marriage, and Elizabethan and Jacobean culture - shedding light on Shakespeare's views on and representation of women, sex and gender. Accompanying the 439 entries are extensive, informative annotations that strive to maintain the original author's perspective, supplying a careful and thorough account of the main points of an article.

First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 - a period that saw a remarkable amount of ground-breaking work. While the primary focus is on feminist studies of Shakespeare, it also includes wide-ranging works on language, desire, role-playing, theatre conventions, marriage, and Elizabethan and Jacobean culture - shedding light on Shakespeare's views on and representation of women, sex and gender. Accompanying the 439 entries are extensive, informative annotations that strive to maintain the original author's perspective, supplying a careful and thorough account of the main points of an article.

Originally published in 1995. In three parts - introduction, criticism and reviews - this volume examines the goriest of Shakespeare's works. The editor's exhaustive introduction runs through the pattern of changing scholarship and commentary, introducing the key interests in the play, from its authorship to its language, rhetoric and performance. Early commentaries focused on arguing about whether the play was truly Shakespeare's. A selection of the most important of these are included here followed by later investigations looking at myriad topics and characters - revenge, violence, race, Aaron, women, tragedy and Tamora. The large section of reviews of stage performances, arranged chronologically, ranges from 1857 to 1990. Two final pieces interestingly survey stage history of Titus in Japan and in Germany.

This is the first collection of critical essays devoted exclusively to Shakespeare's first published work, his long narrative poem Venus and Adonis which established his reputation as the literary darling of London and the heir of Ovid. Particularly important is the book's coverage of the little-known presence of Venus and Adonis on stage.A substantial introduction of 65 pagessurveys the history of criticism about the poem and its significance, and addresses such issues as the burdens of readership and the poem as a staged production. Following are 19 reprinted works from the 18th to late 20th centuries and seven original essays by leading scholars that examine the poem from a variety of theoretical and critical perspectives-Lacanian desire, semiotics and Elizabethan wardship, female readership, mythology, aesthetics and art history. An extensive chronological bibliography of scholarship, editions, and theatrical and literary reviews makes this volume indispensable.

The first African American to win the Pulitzer Prize for drama, Suzan Lori-Parks has received international recognition for her provocative and influential works. Her plays capture the nightmares of African Americans endangered by a white establishment determined to erase their history and eradicate their dreams. This collection of twelve original essays addresses Lori-Parks' plays, their historical and philosophical roots, her novel and her screenplays, as well as a production chronology of her plays. Of particular note are an interview with Lori-Parks and another with her long-time director Liz Diamond. This text represents a valuable addition not only to the work of Lori-Parks, but to the extensive history of African American playwrighting.

The author of A Streetcar Named Desire and Cat on a Hot Tin Roof was never shy about drawing on his personal and family drama for stage material. This collection of 15 essays examines how Williams's confessional style and subject matter in turn influenced a diverse group of American playwrights over the past six decades. Critical comparisons with William Inge, Edward Albee, Neil Simon, David Mamet, Beth Henley, Christopher Durang, Tony Kushner, and others reveal the complexity of his influence. A special feature of this collection is its emphasis on how Williams was received by African American dramatists, including Lorraine Hansberry, August Wilson, Adrienne Kennedy and Suzan-Lori Parks. The collection ends with an original interview with Edward Albee on why and how Williams influenced him.

In the twenty years that preceded the publication of this book in 1988, David Rabe was in the vanguard of playwrights who shaped American theatre. As the first full-length work on Rabe, this book laid the groundwork for later critical and biographical studies. The first part consists of an essay that covers three sections: a short biography, a summary and evaluation of his formative journalism for the New Haven Register, and a detailed and cohesive stage history of his work. The second part presents the most comprehensive and authoritative primary bibliography of Rabe to date, with the third section containing a secondary bibliography - including a section on biographical studies.

In the twenty years that preceded the publication of this book in 1988, David Rabe was in the vanguard of playwrights who shaped American theatre. As the first full-length work on Rabe, this book laid the groundwork for later critical and biographical studies. The first part consists of an essay that covers three sections: a short biography, a summary and evaluation of his formative journalism for the New Haven Register, and a detailed and cohesive stage history of his work. The second part presents the most comprehensive and authoritative primary bibliography of Rabe to date, with the third section containing a secondary bibliography - including a section on biographical studies.

Originally published in 1995. In three parts - introduction, criticism and reviews - this volume examines the goriest of Shakespeare's works. The editor's exhaustive introduction runs through the pattern of changing scholarship and commentary, introducing the key interests in the play, from its authorship to its language, rhetoric and performance. Early commentaries focused on arguing about whether the play was truly Shakespeare's. A selection of the most important of these are included here followed by later investigations looking at myriad topics and characters - revenge, violence, race, Aaron, women, tragedy and Tamora. The large section of reviews of stage performances, arranged chronologically, ranges from 1857 to 1990. Two final pieces interestingly survey stage history of Titus in Japan and in Germany.

This is the first collection of critical essays devoted exclusively to Shakespeare's first published work, his long narrative poem Venus and Adonis, which established his reputation as the literary darling of London and the heir of Ovid. Particularly important is the book's coverage of the little-known presence of Venus and Adonis on stage.

'The impressive array of scholars gathered in this collection, all experts in the field, read the plays with nuance and situate them deftly within their cultural and historical contexts. Scholars of contemporary theater and drama and of African American literature will find value in this engaging collection.' Choice

'For students and scholars of American theatre and drama generally and African American theatre and drama most particularly, this is an extremely valuable critical source.' Harry Elam, Stanford University, USA

In the last fifty years, American and World theatre has been challenged and enriched by the rise to prominence of numerous female African American dramatists. Contemporary African American Women Playwrights is the first critical volume to explore the contexts and influences of these writers, and their exploration of black history and identity through a wealth of diverse, courageous and visionary dramas.

Kolin compiles a wealth of new essays, comprising:

• Yale scholar David Krasner on the dramatic legacy of Lorraine Hansberry, Zora Neale Hurston, Marita Bonner and Georgia Douglas Johnson
• individual chapters devoted to: Alice Childress, Sonia Sanchez, Adrienne Kennedy, Ntozake Shange, Pearl Cleage, Aishah Rahman, Glenda Dickerson, Anna Deavere Smith and Suzan Lori-Parks
• an essay and accompanying interview with Lynn Nottage
• comprehensive discussion of attendant theatrical forms, from choreopoems and surrealistic plays, to documentary theatre and civil rights dramas, and their use in challenging racial and gender hierarchies.

Contributors: Brandi Wilkins Catanese, Soyica Diggs, James Fisher, Freda Scott Giles, Joan Wylie Hall, Philip C. Kolin, David Krasner, Sandra G. Shannon, Debby Thompson, Beth Turner and Jacqueline Wood.

A Streetcar Named Desire revolutionized the modern stage and this book offers the first continuous history of the play in production from 1947 to 1998. Chapters survey major national premieres by the world's leading directors including Seki Sano, Luchino Visconti, Ingmar Bergman, Jean Cocteau and Laurence Olivier. Interpretations by Black and gay theater companies also receive analyses, and transformations into other media, such as ballet, film, television, and opera (premiered in 1998) form an important part of the overall study.

A Streetcar Named Desire revolutionized the modern stage and this book offers the first continuous history of the play in production from 1947 to 1998. Chapters survey major national premieres by the world's leading directors including Seki Sano, Luchino Visconti, Ingmar Bergman, Jean Cocteau and Laurence Olivier. Interpretations by Black and gay theater companies also receive analyses, and transformations into other media, such as ballet, film, television, and opera (premiered in 1998) form an important part of the overall study.

'The impressive array of scholars gathered in this collection, all experts in the field, read the plays with nuance and situate them deftly within their cultural and historical contexts. Scholars of contemporary theater and drama and of African American literature will find value in this engaging collection.' - Choice 'For students and scholars of American theatre and drama generally and African American theatre and drama most particularly, this is an extremely valuable critical source.' - Harry Elam, Stanford University, USA In the last fifty years, American and World theatre has been challenged and enriched by the rise to prominence of numerous female African American dramatists. Contemporary African American Women Playwrights is the first critical volume to explore the contexts and influences of these writers, and their exploration of black history and identity through a wealth of diverse, courageous and visionary dramas. Kolin compiles a wealth of new essays, comprising: Yale scholar David Krasner on the dramatic legacy of Lorraine Hansberry, Zora Neale Hurston, Marita Bonner and Georgia Douglas Johnson individual chapters devoted to: Alice Childress, Sonia Sanchez, Adrienne Kennedy, Ntozake Shange, Pearl Cleage, Aishah Rahman, Glenda Dickerson, Anna Deavere Smith and Suzan Lori-Parks an essay and accompanying interview with Lynn Nottage comprehensive discussion of attendant theatrical forms, from choreopoems and surrealistic plays, to documentary theatre and civil rights dramas, and their use in challenging racial and gender hierarchies. Contributors: Brandi Wilkins Catanese, Soyica Diggs, James Fisher, Freda Scott Giles, Joan Wylie Hall, Philip C. Kolin, David Krasner, Sandra G. Shannon, Debby Thompson, Beth Turner and Jacqueline Wood.

This collection of essays documents the indebtedness and thematic similarities uniting Shakespeare and eight southern authors--William Gilmore Simms, Henry Timrod, Sidney Lanier, Mark Twain, William Faulkner, John Crowe Ransom, Robert Penn Warren, and Walker Percy. Each of these essays, written expressly for this collection, examines the shared cultural heritage in which Shakespeare has been received as well as the significant ways in which each of these writers has responded to Shakespeare. Since no other single work currently exists that exclusively considers this subject, Shakespeare and Southern Writers will be a valuable resource for scholars of American literature, Shakespearian studies, and southern culture, giving as it does not only a much needed account of the Bard's influence on the life and writings of these particular writers but also an assessment of his influence on southern letters in general. The eight authors selected are representatives of various periods and achievements in southern literature (the local color movement, the age of the Fugitives-Agrarians, the modern novel); their work represents the widely different genres in which Shakespeare's influence was felt--the lyric (Timrod, Warren), the drama (Simms--in both comedy and tragedy), the novel (Twain, Faulkner, Percy), and criticism (Ransom, in particular). The editor draws together these disparate and individual writers from the nineteenth and twentieth centuries in an introductory essay that points out the variety and richness of these authors' responses to Shakespeare.

Edward Albee has reigned over the American theater since 1959. By transporting the techniques of European absurdism to American soil, he ushered in a new era in the American theater. He has said he won two and one-half Pulitzers---one for "Delicate Balance," one for "Seascape," and the one-half supposedly for "Virginia Woolf," which the Pulitzer committee denied to Albee in 1962 because they objected to the language of the play.

Albee's numerous roles and achievements are reflected in the lively interviews in this collection. These reveal the many sides and responses of one of the most significant dramatists of our age. In them we see the poised and guardedly amiable Albee; the angry Albee; the speculative and philosophical Albee; the historical-critical Albee; and the witty Albee.

Albee talks knowledgeably and frankly about every phase of staging his plays---the many personalities involved in the process and the playwright's prerogatives, which he jealously guards.

These twenty-seven interviews contain a rich sampler of Albee's own scathing wit, his wry humor, and his sometimes biting, sardonic innuendo. His targets are many---the New York theater critics, television, Hollywood and films, complacent America, and lazy audiences.